Steven Spielberg’s latest film Disclosure Day has drawn mostly positive reviews ahead of its release. This sci-fi thriller marks the director’s return to themes of alien life and humanity’s place in the universe after many years.
The film centers on a conspiracy in which the US government hides the existence of intelligent extraterrestrial life. The story follows a small, determined group trying to reveal the truth to the world, shaking a society on the brink of war and destruction.
The cast includes Josh O’Connor, Emily Blunt, Colman Domingo, Colin Firth, Eve Hewson, and Wyatt Russell. The screenplay was written by David Koepp, a frequent collaborator of Spielberg; Janusz Kaminski handled cinematography, Sarah Broshar edited, and John Williams composed the music.
Initial reviews began appearing on June 9. Produced by Universal Pictures, the film will be released worldwide in theaters on June 12. Following the reviews, it holds an 84% rating on Rotten Tomatoes based on 138 reviews and a Metacritic score of 74.
Praise and Criticism from Reviewers
David Rooney of The Hollywood Reporter described the film as a work that showcases Spielberg as one of the directors who best understands cinematic magic. Rooney noted the film’s kinship with Close Encounters and E.T., but said Spielberg approaches the state’s secrecy, manipulation, and deception from a more mature perspective this time.
He also highlighted the film’s themes of fear, anxiety about the unknown, and human connection. According to Rooney, Disclosure Day offers a fast-paced story built on hope, truth, empathy, and even spirituality.
Peter Bradshaw of The Guardian gave the film four stars, calling it "a highly entertaining and thoroughly absurd alien conspiracy adventure." Bradshaw pointed out how Spielberg treats two famous legends—Roswell and crop circles—with a balance of seriousness and irony.
David Ehrlich from IndieWire praised the film’s sincerity. Ehrlich wrote that although the film is fundamentally a fun and light watch, Spielberg’s heartfelt storytelling remains intact, and the director still excels at drawing audiences into a spectacle filled with grandeur.
Empire’s Dan Jolin said the film felt as personal to Spielberg as his previous work The Fabelmans. Jolin noted that the 35mm film format combined with John Williams’ score evokes classic big studio cinema, and the train sequence recalls Spielberg’s earlier action scenes.
Bilge Ebiri of Vulture observed Spielberg’s affinity for the horror genre is also felt in this film. Ebiri described it as an emotionally powerful but occasionally scattered work where characters confront traumatic truths and strive to move beyond them.
On the other hand, Monica Castillo of The AV Club argued that despite strong ideas, the film loses momentum due to side plots, extended endings, and scattered details. Castillo considered the film average by Spielberg’s standards but still an exciting watch.
Nicholas Barber from the BBC offered a harsher critique. Barber likened the film to a more ordinary sci-fi production where irrelevant characters chase each other, calling Colin Firth’s character a clichéd villain. However, he acknowledged that the optimism Spielberg infused into the film might appeal to some viewers.